This Netflix-trending film is from an unlikely country: it shows hit origins changing

Netflix’s Top has been completely taken over by the hit show “Luna sin Honey,” and this is not a random success; rather, it is a definite indication of a trend.

The undeniable success of the Kuwaiti romantic comedy ‘Luna sin Honey’ places a new success outside of the United States or Europe at the top of the platform. This success also corroborates the fact that Netflix is increasingly filling its catalog with regions that were not too long ago considered to be nothing more than exotic curiosities. Now, India, Indonesia, or, of course, China and Korea, who are already continuously successful billers, fill the offers of the platforms to the brim with more content.

‘Moon without honey’ was a huge success. Within the first week of its release, this production has climbed straight to the top spot among films that are in a foreign language. It has 14,000,000 views, which is twice as many as the second most popular film, which is titled “City Hunter.” But that’s not all; here is the evidence that substantiates the success: it also dubbed “Unglazed,” the movie that now holds the top spot on the list of the most watched films in English.

Additional works produced in Kuwait. The movie or series that has been viewed on Netflix from Kuwait is not the first one to come from that country. “Stock Exchange,” for instance, was a series that focused on the corporate world during the 1980s and provided a precious visual document of the fashions and business ethics of other people. The success of the series ensured that a second season would be produced, and it will be made available in the near future. it is time. For example, “I have a Script,” “In a cage,” and “What if” are examples of more conventional soap operas and thrillers that combine elements of both genres. Some of these shows have approximately thirty episodes.

There is a rationale behind all of this. ‘The Squid Game’ is the name of this explanation. Netflix began its international expansion in terms of its collection in 2021, when the success of the Korean series caught the platform itself by surprise. This was the beginning of Netflix worldwide expansion. Nevertheless, the lift that the series provided (and the numbers: a series with a budget of twenty-something million dollars yielded nine hundred dollars in profits) and the status (six Emmys after being nominated for fourteen) translated quite clearly. There are studies that indicate that sixty percent of Netflix’s foreign audience views Korean content, and seventy percent of its viewers are from countries other than the United States.

Better to be outside. Initially, it was considered that the portrayal of cultures that were not a part of the ever-present Anglo-Saxon presence sparked curiosity and interest among the general population. The signs are evident. To this day, it is common knowledge that there is a sizable audience from countries other than North America or Europe, and that this audience is looking for information that is distinct from what we have been consuming with unrelenting devotion over the course of the years or even decades that have passed.

The surge in popularity of Indian films. The dedication to films in the Telugu language, which is one of the twenty-two languages spoken in India and is associated with a cinema that has achieved greater popularity than Bollywood, which is the most widely known of the Indian languages, also has a very specific beginning point: the bombing of the film “RRR.” As a result of his Oscar and the enormous audiences he attracted, there was a surge of interest in Telegu cinema that had not been seen before. Since the year 2022, Netflix in the United States has increased the amount of content it offers in this language by a factor of three.

Nothing but for the money. The example of Telegu cinema is one of the most recent examples (it appears that Kuwait is now in the spotlight, to which are added the spooky thrillers and rural horror films from Indonesia) that provides evidence of the degree to which the interest of viewers is becoming geographically fragmented. On top of that, it has nothing to do with Woke conspiracies; rather, it is concerned with the age-old and everlasting proverb of focusing attention on the location of the money.

It is clear that we are living in times of change for streaming platforms : once Netflix has established itself as the main option , which is already nourished even by the catalog of its competitors , and now that the crisis that is forcing them all to raising subscription prices and taking measures against customers who share accounts , new trends are also being seen in catalogs that have to avoid stagnation.

When it comes to Netflix, it is no longer simply about policies exposing that the days of generating without brakes are over. This is not only because it is more smart from an economic standpoint, but also from an image standpoint. Additionally, production has been slowed down as a result of unanticipated occurrences such as strikes by scriptwriters and actors (we are still noticing the echo of the stoppage), and catalogs are filling up with films and series from nations that were not affected by the strike.

No one is unaware of the fact that, over the course of the past few months, Korean and Indian fictions, for instance, have been taking increasingly prominent places on the platform. This is a continuation of a phenomenon that has already occurred in the past. The statistics of the platform are indicating that there is a growing need for content that is not solely originating from the United States. However, the licensing of third-party catalogues is no longer the only concern.

According to the findings of a study that Ampere Analysis conducted for Variety, it has been found that more than half of the money that Netflix has invested in the production of new content (7.9 billion dollars compared to a total of 15.4 billion) has been devoted to films and shows that originate from countries other than the United States. This means that for the very first time in its history, Netflix has generated more content outside of the United States than it has produced in the country in which the platform was initially established.

Not only that, but the report also states that it is anticipated that the amount of money invested in productions in the United States will decrease by twenty percent between the years 2022 and 2028. On the other hand, the total investments increase by 44%. That is not feasible, is it? mainly due to the fact that investments in television shows and movies are exploding in other regions of the world: output is growing by 19% in Central and South America, 10% in Sub-Saharan Africa, and 6% in Europe, amongst other regions.

The fact that this is the case does not imply that consumption is falling; rather, it just indicates that people in the United States are becoming less resistant to consuming information in languages and languages other than English. Even more importantly, production costs are far lower in countries other than the United States. Rather than focusing solely on market tactics, the focus has shifted to plain and straightforward liquid savings this time around.

This Netflix-trending film is from an unlikely country: it shows hit origins changing

By ki0nk

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